“The werewolf’s coming,” Paul Simon cautions at the start of his 13th solo outing, Stranger To Stranger. That’s a menacing lyric coming from a guy who, at 74, undoubtably has a first-class window seat on the pop music gravy train. He helped ease fans through the tumult of the ’60s alongside Art Garfunkel...

For anyone who's been listening to great music during the past half-century, Paul Simon is certainly no stranger. So one of the most remarkable things about his extraordinary new masterpiece, "Stranger to Stranger", Paul Simon's 13th solo record, is that it conjures a vivid and vital new context to his well-established genius as a singer and songwriter. Full of thrilling textures that feel fresh and modern, while still offering subtle and artful allusions to our shared musical past, "Stranger to Stranger" presents the perfect opportunity to get to know Paul Simon in a new way.
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Don't Go to Strangers was Etta Jones' first album for the independent jazz label Prestige when it was released in 1960 (having been recorded in a single session on June 21 of that year), and although Jones had been releasing records since 1944, including a dozen sides for RCA in 1946 and an album for King Records in 1957, she was treated as an overnight sensation when the title tune from the album went gold, hitting the Top 40 on the pop charts and reaching number five on the R&B charts.

Sarah Taylor, a police psychologist, meets a mysterious and seductive young man, Tony Ramirez, and falls in love with him. As a cause of this relationship she changes her personality when she begins to receive anonymous telefon calls.

Johnny Burnette was at the heart of the Rock 'N' Roll revolution for ten years, both with his brother Dorsey as part of the Rock 'N' Roll Trio-considered by many the greatest rockabilly group of all time - & as a hit-making recording artist on his own. Given Johnny's importance, you wouldn't really want any other label but Bear Family to release the definitive retrospective on 9 CDs, is everything Johnny ever recorded. Not just released-recorded! That means all of his Rock 'N' Roll Trio recordings, classics like 'Train Kept A-Rollin', 'Lonesome Train (on a Lonesome Track', 'Rock Therapy', 'Honey Hush', & 'Tear It Up', his recordings for Imperial & Freedom/Liberty (complete for the first time), where he notched his hits 'Dreamin', 'You're Sixteen', and many more!
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Don't Go to Strangers was Etta Jones' first album for the independent jazz label Prestige when it was released in 1960 (having been recorded in a single session on June 21 of that year), and although Jones had been releasing records since 1944, including a dozen sides for RCA in 1946 and an album for King Records in 1957, she was treated as an overnight sensation when the title tune from the album went gold, hitting the Top 40 on the pop charts and reaching number five on the R&B charts.

AOR from Canada is always of our interest, the band Total Stranger is certainly no exception. The trademark of these guys is punchy, strong rhythms that twist and turn to form unique melodies and the use of acoustic guitars accentuates the sound to massive proportions. What a fantastic CD!!! Great AOR album with killer tracks all over!!! Definitely recommended!!!

Strangers to Ourselves is the sixth album by American alternative rock band Modest Mouse. Reviews of Strangers to Ourselves represent a diverse mix of opinions on the album. The album holds a score of 70 out of 100 from Metacritic based on "generally favorable reviews".
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This disc, which has Dr. John at the controls as a producer, brings together a mix that brings out the best for all those concerned and involved with this project. There is no weakness here, it is a straight-ahead use of all the strengths of Shemekia Copeland, daughter of Johnny Copeland. The songs were well selected to effectively show off all her potency as a vocalist. There are some many good writers that are also players on this disc that the tunes fit like gloves. There are strong contributions by John "Fingers" Hahn, Mac Rebennack, and Shemekia Copeland herself. The tunes, varied in style, are all based in the deep blues, and were selected for their capability to push her vocal talents to constant new personal pinnacles. She keeps it interesting by varying the pace and on "The Push I Need," she sounds right at home singing this funky tune as a duet with Dr. John. She stays with the good Dr. through the tune as if she were doing this everyday. Then she turns around and seems just as comfortable singing "Happy Valentine's Day," as a slow bluesy torch-burner, with minimal accompaniment.